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Dear Reader: Are you nervous, rundown, and afraid to face the mountain of paperwork on your desk? If you fit that description, just follow these simple directions and your cure is guaranteed. Not only will your office cares disappear, but you may find your name gracing these pages as a member of the ARIZONA HIGHWAYS family of photographers!

My prescription for your ills is that you obtain a relatively inexpensive but professional type camera outfit, a few packages of color film, and spend some vacations and weekends photographing the wonders of Arizona. You will enjoy the experience immensely, and will end up with some color transparencies that may well interest the editors of this magazine.

You say that you're no photographer-that you never got beyond the Box Brownie stage? Well, so much the better. You will start without the handicap of preconceived notions of how the job should be done. After you get used to the mechanics of setting up your equipment and making reasonably correct exposures, you will then develop your ability to see photographic subjects and compose them attractively.

Your first step on the road to contentment will be the selection of equipment. Most cities have camera stores that sell both new and used cameras, and I suggest that you start shopping for a used 4x5 inch Press camera. I use a Burke and James Press camera, which sells for around $100.00 in used condition with a standard focal length lens. You won't need flash equipment or even a rangefinder, and the focal plane shutter found in Speed Graphic cameras will probably find scant use in your work. The lens need not be very fast-mine is f6.8since you will shoot nearly all of your pictures at slow shutter speeds with the lens stopped dow down to at least f16. This speed of f6.8 is enough to permit convenient focusing and composition of the picture on the camera's ground glass. Yes, you will do almost all of your work by ground glass composition with the camera mounted on a stout tripod, just as they did in grandma's day. While a View camera is more versatile for this type of work, I believe you may find the Press type camera a little easier to handle at first.

Your camera should be housed in a strong but compact case with carrying handle, and you will need at least five double cut film holders. If your budget can stand it, you should also get a wide angle lens to give

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You the ability to shoot scenes which have Cinemascope-like dimensions. A lens such as my 90mm Schneider Angulon in shutter should cost about $60.00 new.

Now for the tripod department. I recommend that you buy a two-sectioned wooden tripod, which should cost about $8.00 used. Have you got it? Okay, now buy a second one just like it. At this point The Little Woman, if she has accompanied you on your shopping spree, will start casting steely glances in your direction. Ignore them, and start to disassemble the second tripod. By this time the camera shop proprietor will be so fascinated by the proceedings that he will help you, and you will soon have tripod parts strewn all over the floor. A few small holes drilled in the tripod legs and some bolts will give you an extended-height wooden tripod that should measure about six feet tall when set up. Save the extra legs, for they are sometimes needed to replace those broken through wear and tear. This big tripod will look rather strange, but it will be your best friend as you work on steep hillsides or shoot over high brush. If you are tall you can stand on the camera case to see the ground glass when the tripod is fully extended. If you aren't tall, you had better bring along the kitchen stool!

With your king-sized tripod successfully assembled you are ready to pick out your small tripod, either metal or wooden. This additional item is needed for the low angle shots that you will make from time to time, since your other tripod now has a minimum height of more than three feet. The tripod equipment is completed by purchase of a Linhof ball and socket type tripod head, which will fit either tripod. This last item (about $10.00) is perhaps the most important single accessory you can obtain to transform akward fumbling into smooth and easy camera operation.

A good exposure meter ($25.00) and a Polaroid filter ($6.00) should complete your outfit. This adds up to:

When a bike far from the car is necessary, the author enlists the aid of his family to carry the heavy items of equipment, leaving him with only the exposure meter.

While these expenditures will vary a bit, either up or down, it appears that $260.00 should get you fairly well equipped. If you decide after a good trial that color photography isn't your game, you should be able to recover most of this cost by selling the equipment. So much for the initial cost, which isn't bad when compared to the money that a devoted hunter or fisherman will spend to get outfitted. You will be something like the fisherman who really doesn't care a great deal if he catches anything or not-he's just out fishing. Unlike the professional photographer, who must get salable pictures if he is to eat, you're doing it just for fun, and any money return should be thought of as so much gravy. (The reader is assured that income will probably not exceed outgo.-Wilma Elmer, camera widow.) Upkeep will depend upon how much 4x5 color film you shoot at about $1.15 per exposure for film and processing. Since your primary objective is relaxation and pleasure, shooting this expensive film is essential to your plan. Otherwise, you might shoot so many pictures that it would turn into ordinary hard work. What better way is there to insure careful selectivity than by taking from the dirt road that centers the canyon at Sedona. Many a black-sombreroed hombre has bitten the dust before the blazing six-guns of a white-sombreroed cowboy hero with these buttes as a background, while Hollywood's cameras ground away. The Schnebly Hill road makes a nice loop trip from Flagstaff, leaving Alternate U.S. 895 miles south of Flagstaff. After some 25 miles of travel through beautiful pine forests the road starts its descent into the canyon, continuing another 4 or 5 miles to Sedona. From Sedona, the paved highway can be taken back to Flagstaff. Goertz Aerotar 6 inch lens, f.14, 1.25th second, Polaroid filter.

"FROM TOROWEAP POINT-GRAND CANYON." Those of us who hail from Mohave County are right proud of the part of the Grand Canyon that is in our territory. This is Grand Canyon National Monument, west of the National Park, and location of one of the world's great jumping-off points. The Ranger told me that about 500 people see this sight each year, so that you seldom run into a crowd of visitors out there. The road heads southwest from Fredonia for a distance of 67 miles. You can't miss the end of the road-there's nothing but 4,000 feet of space at that spot, with the muddy Colorado River at the bottom. 90 mm. Schneider Angulon wide-angle lens, f.12, 1.25th second, Polaroid filter.

"MOGOLLON RIM SUNSET." The end of a brisk October day found Hully Burroughs, Bob Fyfe, and myself at this point on the lofty Mogollon Rim that stretches across northcentral Arizona. We had been shooting pictures all day, which accounted for the fact that we had traveled only 95 miles from our start early that morning in Show Low to when sunset overtook us. This is some more uncrowded Arizona real estate-no hot dog stands or motels on this road. The view looks southwest towards Pine and Payson, and what a view it is! 90 mm. Schneider Angulon wide-angle lens, f.11, 1.25th second.

"A STILL WORLD-JOSHUA WINTER." One of the desert's most striking scenes is found when a snowstorm visits the grotesque forests of Joshua trees that stretch through northwestern Arizona, southern Nevada, and southern California. I was taking my little niece, Elizabeth Ann Glass, back to her home in Phoenix when we came across this spot. The beauty and calm of the scene were broken only by the fact that "Sissie" Glass was pelting the photographer with snowballs while he was defenseless under the dark cloth. Such are the occupational hazards of the landscape photographer! 6 inch Goertz Aerotar lens, f.22, 1.10th second, Polaroid filter.

All of the photographs in this color section were made with a 4x5 inch Burke & James press camera, using Ektachrome film unless otherwise stated.

OPPOSITE PAGE

"A GLIMPSE OF LAKE MEAD." Mother Nature went on a painting spree in this little gulley on the south shore of Lake Mead near Hoover Dam. Just two miles west of the dam on the highway to Boulder City, this small ravine is hardly noticed by the streamlined, supercharged traveler who flashes by with his car's many horses in full gallop. Take a break for a minute or two, Mr. Tourist, and clamber down the bank into this natural paint-potit's fun! 90 mm. Schneider Angulon wide-angle lens, f.18, 1.25th.

"VIEW FROM SCHNEBLY HILL." Only a few of the thousands of persons who visit Oak Creek Canyon each year see this viewTonto Creek winds down its valley towards Roosevelt Lake, about 10 miles further downstream. The road from the high country at Pine and Payson passes this spot as it descends into the saguaro country of the Salt River National Wildlife Refuge, with Roosevelt Dam and the rugged area of the Apache Trail beyond. 6 inch Goertz Aerotar lens, f.11, 1.25th second, Kodachrome film.

"THE WINDING RIVER VIEW-DOWN THE TONTO."

The basin of the Big Sandy River, southeast of Kingman, takes on a new color when autumn touches the bushes of that area. This picture was made near Wikieup, along U.S. 93 about 55 miles from Kingman. Construction of this new highway is well along towards completion, and many thousands of travelers already use it regularly as a fast and interesting route from central Arizona to the unparalleled fishing and recreational areas of Mohave County. 90 mm. Schneider Angulon lens, f.22, 1.10th second.

"LIGHTS AND SHADOWS ACROSS THE ALTAR VALLEY."

When Hulbert Burroughs and I came across this hill in the Altar Valley, 39 miles west of Tucson on State Highway 86, we promptly climbed to its top and shot up our entire supply of color film. The combination of light, clouds, and towering saguaros created fine pictures in every direction. This view looks southeast towards the Cerro Colorado Mountains the towering peaks of the Baboquivari Mountains are just to the west of this point. 6 inch Goertz Aerotar lens, f.11, 1.25th second, Kodachrome film.

"CHOLLA AND BRISTLING PEAKS NEAR SUPERIOR."

This huge cholla cactus frames rugged mountains at Boyce Thompson Arboretum-an unusual collection of desert plants found just west of Superior, Arizona, on U.S. 60-70. Our cholla in Mohave County grow to a respectable height of three or four feet, and I thought that this was true of all cholla until I saw this one, which must tower a good 15 feet into the air. 6 inch Goertz Aerotar lens, f.11, 1.10th second, Polaroid filter.

OPPOSITE PAGE "SUMMER'S COLOR-NORTHERN ARIZONA."

Flowers, blue skies, and the clouds of summer mark this picture as typical of the beautiful summer days found in Northern Arizona. This view looks eastward towards the towering heights of Mt. Humphrey near Flagstaff, as seen from along U.S. 66 about 7 miles east of Williams. 90 mm. Schneider Angulon wide-angle lens, f.18, 1.10th second.

pictures costing more than a dollar every time the shutter clicks? The above theory is mentioned primarily for your use in explaining the whole business to your wife, with whom this argument will probably go over like a lead balloon. (Yes.-W. E.) With equipment ready and film holders loaded, you are ready to go. Just take it easy and don't worry about running out of subjects in Arizona. Documenting that state is a lifetime task, with new surprises waiting to greet you every time you set forth. Many of the most fascinating subjects are found after you leave the paved highways, and one subject will look much different at various times of the year or even at different times of the day. You will enjoy setting up your camera and looking at scenes through the ground glass. The magic of optics somehow makes scenes look better than they do to the unaided eye. After some time you will become accustomed to the upside-down images on the ground glass, but don't be ashamed to practically stand on your head to see them right side up. Even old hands are known to do it once in awhile when they have difficulty in properly analyzing pictures as first seen. It's hard to stand on your head, though, when your camera towers at a height of some seven feet on your super tripod. Then you may be lucky to get an adequate look at the image.

For ease in composition and focusing you will need a dark cloth to shield the ground glass from stray light. You might enlist your wife's assistance in the manufacture of a cloth that is black on one side and white on the other. As an extra touch she might even include an elastic-rimmed opening to fit over the camera back. The white side of the cloth is needed to make life under the dark cloth a bit cooler than would otherwise be the case. Yes, you will spend a lot of time under that focusing hood, for you will soon learn how the movement of your camera just a few feet or even a few inches can completely change a picture. Take your time and try several different compositions, using trees, rocks, and other foreground objects to best advantage as frames for your pictures. Only through use of the ground glass, for example, can you begin to realize the amazing capabilities of your wide angle lens as you literally get on top of an object and use it as a bit of foreground interest to set off a distant scene.

Advice and assistance from other photographers will be available in profusion as you begin your photographic career. That advice which concerns your equipment and its use should be welcomed and heeded. That which is offered as to your artistic accomplishments is more difficult to evaluate. To a large extent you will know, yourself, if the results are pleasing to you and have captured the scenes about as you saw them. Many of your pictures will do just that, but others will disappoint you, since some delicate moods which you felt in the scenes were somehow lost in the transition to film. Many, many others, however, will actually improve in this translation to photographic images, and you will receive many pleasant surprises when you receive your pictures from the lab. Much excellent advice is contained in a series of articles that has appeared in ARIZONA HIGHWAYS on the subject of photography in Arizona. Unfortunately many of these issues are no longer available. Additional ideas can be gained through careful study of the color pictures that have appeared in the magazine during the past decade. Many subjects are portrayed again and again, but there is always room for another unusual view of the Grand Canyon, Monument Valley, or Hoover Dam.

For a truly outstanding experience in photographic education and plain good fun I can highly recommend the annual photographic workshops given in Yosemite Valley by Ansel Adams. This master of the photographic medium is a fine teacher and a wonderful person whose enthusiasm can be very inspiring.

Most persons do not realize that ARIZONA HIGHWAYS has neither staff photographers nor staff writers, but relies completely upon contributions from both professional and amateur members of those fields. In color photography, transparencies of 4x5 inch or larger size sent in by new contributors are reviewed with keen interest, and new names appear in the magazine with great frequency. During the five-year period 1952-1956, a total of 77 new color photographers showed up in the pages of the maga-zine, and many of these made repeat appearances after their initial publications.

You might also make some sales of your color pictures through a photographic agency. Agencies are always interested in reviewing new color material 4x5 inches or larger, and may handle your pictures for you if they are of good quality. Their commissions are well-earned, in my opinion, since they take over the job of receiving all of your rejection letters. Then, too, you just won't have enough spare time to do an adequate job of sending your material to potential markets.

If you are an avid hiker and camper you will probably perform these functions on your photographic trips. If you are neither, your photographic style style will not be appreciably cramped, however. Every color photograph used to illustrate this article was made from within a few hundred feet of the car, and the majority from just off the road. While I admire those who hike in to seldom seen spots far from the beaten track, I just don't like to work that hard while carrying the camera outfit described above. I have made a few lengthy hikes with my camera equipment, but whenever I started feeling sorry for myself I would remember that Esther Henderson had probably trod the same path several times while carrying her 5x7 inch camera outfit! As I recall this charming lady she can't be quite five feet tall, so I figured that I could make it, too.

Should you prefer an innerspring mattress and hot shower to the camping out life, then you will become a motel dweller on your photographic junkets to Arizona. As you inspect the quarters offered you, however, your first glance will be for neither bed nor shower. You will first inspect the closet, preferably by sitting on its floor and closing the door behind you. Since motel owners are generally not accustomed to photographers who must unload and load cut film holders each night, it might be well to explain the grim facts of film changing to them in advance. While on a four day photographic tour of the state, Hulbert Burroughs and I stayed one night at a motel in Wickenburg. As we arranged dark cloths over generous cracks in the closet door and began to unload film holders in what we hoped was total darkness, we could hear two elderly ladies in the adjoining room expressing some alarm over the strange noises issuing from our closet. These noises included, of course, the customary amount of muted but exasperated comment directed toward balky holders and pieces of film that just didn't quite seem to possess the correct dimensions. As we departed the next morning two faces were detected peering from behind curtains to observe what manner of creature could be responsible for such activities.

My list of suggested Arizona photographic subjects must start with Toroweap Point, a king sized jumping off place in Grand Canyon National Monument, which adjoins the Park on the west. Nothing in your previous experience can quite prepare you for your first look over the edge to the muddy Colorado River many thousands of dizzy, vertical feet below. The route is southwest from Fredonia, and it isn't very crowded, about two people a a day being the average over a year's time. En route, you will enjoy inspecting and photographing Pipe Spring National Monument, an old Mormon fort which guards a large and refreshing oasis in the barren mesa lands west of Fredonia.

Kingman, my home town, is the center of a wonderland of photographic subjects, including the nation's most impressive forest of grotesque Joshua trees, the pine clad Hualpai Mountains, the rugged Black Mountains dotted with old mining camps, and the beautiful string of lakes, Havasu, Mohave, and Mead, formed along the Colorado River to the west.

The desert lover who would enjoy a real, unspoiled ghost town should visit Kofa. This is the King of Arizona mine, which nestles in the jagged Kofa Mountains northeast of Yuma. The deserted camp seems ready to spring to life, as though its inhabitants had just gone down the canyon for a brief picnic, instead of departing forever a half century ago.

And then there is autumn in the White Mountains, a cascade of color which neither mind nor lens can fully grasp. There is no better spot to start a photographic coverage of White Mountain fall color than a comfortable chair in front of Eric Marks' fireplace. Eric, who once held a seat on the New York Stock Exchange, now has his seat firmly planted in Show Low, Arizona, where he functions as genial host at Paint Pony Lodge. Here eight or ten lucky guests get to listen to Eric's improbable stories and sample Mary Marks' incomparable cooking.

On Sunday, October 7, 1957, I intend to sit in front of that fireplace, and, with Eric's help, plot new photographic assaults upon Nature. After supper I will preempt Eric's own bathroom-the only light-tight room in the house-and will perform the film loading ritual, complete with incantations. At a reasonable hour the following morning I will drive through the White Mountains to Big Lake, on whose shores jumbo tripod, camera, and all accessories will be duly set up. As I peer at that upside-down view of blue water and golden leaves my crowded desk will seem several light years distant. Maybe I'll see you there.

You might be a little worried about this idea of concentrating upon Arizona, and perhaps you wonder if a few trips through the state might exhaust the photographic material really worth shooting on these expensive sheets of film. To repeat the legendary statement of a famous Hollywood producer, “In two well-chosen words -IM POSSIBLE!” The color documentation of Arizona is a lifetime task, and one which will continue to arouse your enthusiasm and test your skill for as long as the land is there and you are around to record it through your lens.

These remarks have merely served to introduce the main subject of this article, which is a series of photographic trips that can be made through Arizona at various times of the year. There are short trips and extended ones, visits to the pines and to the desert wastes, and trips for each season of the year. They are all lots of fun, and that pile of papers on my desk already seems far away as I just think about some of these places that are waiting for me and my camera. So, here is a photographer's guide to contentment!

TRIP NUMBER 1 ARIZONA IN SPRINGTIME

FIRST DAY: When Hully Burroughs and I made this

trip in 1952 the winter rains had been very good and the area around Lake Mead was a solid carpet of yellow and purple. This floral display continued into Arizona for a distance of about ten miles along U.S. 93. Twenty-five miles from the dam a dirt road turns off to the ghost town of White Hills, five miles from the highway. This is a ghost town in the truest sense. Here there are no guides, no curios for sale. Nothing remains to mark the spot where once a town of 3,000 flourished except a few weathered shacks and the pockmarked hills behind the camp. Thirty-eight miles from the dam another dirt road leaves the highway and winds through Arizona's finest Joshua tree forest and past dizzy views of Lake Mead, far below, until it descends the sand wash which leads to Pierce Ferry on the edge of Lake Mead. The Grand Wash Cliffs to the east mark the end of the Grand Canyon and the Colorado Plateau. The road leading back to Kingman skirts Red Lake (dry) as it traverses the broad expanse of Hualpai Valley. First night's stop -Kingman. Distance traveled-182 miles.

SECOND DAY: Start the day with a quick run up to the pines at Hualpai Mountain Park, just 14 miles from Kingman. There might still be some snow on the peaks, and the mountains will be green and fresh. Upon returning to U.S. 66, head eastward across the plateau to the pines at Williams and Flagstaff, and then south on U.S. 89 Alternate to famous Oak Creek Canyon. Before sunset there should be time for a few shots of the red cliffs, blue waters of the creek, and fields of yellow flowers. Second night's stop-Sedona. Distance traveled-222 miles.

THIRD DAY: Try exploring some parts of Oak Creek Canyon that are reached by the red dirt side roadsplaces such as Boynton Canyon, Dry Creek (it had water in it when we were there), and an interesting little natural bridge in the Dry Creek area. The decision to put away your camera and leave Oak Creek Canyon will be one of the most difficult ones you must face during this trip. From Sedona the dirt road leads to Montezuma Well and Camp Verde before turning east and heading up a long hill to the high country at Pine. Upon reaching Pine you should phone Tonto Natural Bridge Lodge to determine if the lodge is open and receiving guests. When Hully and I got to the lodge we were met by Pete Anderson, a most genial host. We were the only guests and Pete apologetically asked us to join him in a modest supper consisting of venison with all of the trimmings, including what surely must be the world's most delicious preserved apricots and peaches, grown in orchards just outside the kitchen window. Distance traveled-85 miles.

FOURTH DAY: At breakfast Pete was disappointed to learn that Hully and I could handle only four eggs apiece. It seems that the hens keep laying as though the lodge were full of guests. Pete said that he was once marooned at the lodge by a storm, and by the time help arrived from the outside world nearly a thousand eggs were on hand! Our steep climb out of the canyon occupied by the lodge was made in a light drizzle which stopped as soon as the top was reached. The road from Pine eastward along the base of the Mogollon Rim led through beautiful pine forests still glistening after the shower. The route swings back to Payson and then winds down into Tonto Basin and Roosevelt Lake. Beyond Roosevelt Dam the rugged grandeur of the Apache Trail discloses incomparable scenery. The road passes the Superstition Mountains, and finally leads to Phoenix. Fourth night's stop-Phoenix. Distance traveled-184 miles.

FIFTH DAY: After a quick glance at the tall buildings, take U.S. 80 east and south to Tucson and Benson, State 86 northeast to Willcox Dry Lake, and then U.S. 666 south past Cochise Stronghold to the Chiricahua National Monument turnoff, which is State 181. This is big country which can look mighty lonely on a dark and windy night. There is a real haven at the end of this trail, however. It is called Silver Spur Ranch, and Roy and Ruth Kent are the charming hosts. Located within the boundaries of Chiricahua National Monument, Silver Spur offers good beds, wonderful chow, and the finest in western hospitality. If you arrive early enough, take a run up to the rock formations and shoot a few of the jumbled masses that bear such names as Punch and Judy and Donald Duck. Distance traveled-254 miles.

SIXTH DAY: Take another look at the rock formations and, if you really feel full of pep, climb Sugar Loaf Mountain for the best view of the remarkable mountain formation called Cochise Head. Return to State 86 at Willcox via the interesting adobe town of Dos Cabezas. Go back through Tucson and then continue west, still on State 86, past the legendary Baboquivari Mountains and beyond them to the copper mining town of Ajo. You may be lucky enough to see, as we did, the rarest of all sunsets over the Baboquivaris as the sun disappeared behind immense sheets of red rain. (You will have to take my word for this one-a grandiose case of buck fever set in and no pictures were obtained.) There are several excellent restaurants at Ajo specializing in Mexi-can food. As we were enjoying our meal a tremendous explosion took place, seemingly just outside the door. As we dove under the table we noted that none of the regular customers had even glanced up from his enchiladas. It seems that this was a routine blasting operation in the big copper pit, and the only persons shaken by these proceedings are the tourists. Sixth night's stay-Ajo. Distance traveled-262 miles.

SEVENTH DAY: The route leads back on State 86 to Organ Pipe Cactus National Monument. Here you will find one of the world's finest assortment of cactus, including the unusual organ pipe variety found only at this spot within the United States. Rugged mountains form impressive backdrops for the stands of cactus, many of which bloom during April. This is an almost perfect area for desert photography, and is also one of those places that is hard to leave. The return trip leads through Gila Bend, and then west on U.S. 80 to Yuma. Distance traveled-230 miles to Yuma.

TRIP NUMBER 2 AN ARIZONA AUTUMN

Start: Show Low End: St. George, Utah Distance: 843 miles Time: 6 days Season: Autumn (October) FIRST DAY: There's only one place to start a trip like this, and that is right in front of the fireplace at Paint Pony Lodge, Show Low, Arizona. Plan to arrive early in the afternoon so that you can get acquainted with your hosts, Mary and Eric Marks, before sitting down to that great, big dinner. Be sure you have reservations, for Paint Pony can accommodate only a handful of guests. Those few lucky people never had it so good! While Eric is regaling the rest of the people with a few of his choice yarns, such as the story of Hollywood's visit to the Salt River Gorge, you can go upstairs and load film holders in Eric's bathroom, which is the only light-tight room in the house. You have heard of hosts who gladly part with the shirts off their respective backs, but Eric Marks does far more. He turns over his private bathroom to photographers who fidget and curse for hours as they struggle with balky film holders in the darkness. WARNING: watch the low ceilings. Hully Burroughs and I are fairly tall, but Bob Fyfe, the third member of our party, is about 6'6" and he had a particularly rough time. Eric claims that he carries "bump insurance."

SECOND DAY: The trick is to hit the road at dawn, which is about 6:00 A.M. in early October. The evening before Mary Marks will have insisted that she should get up and fix breakfast. The script requires that you stoutly refuse to hear of such an outrage, and she will suddenly agree. So, there you are in the kitchen at 5:30, rummaging around for the Wheaties and warming up the coffee. This is a vacation? Things look brighter with the rising sun, however, as you head for McNary and the White Mountains. McNary is home of the nation's largest yellow pine sawmill, and it is a great sight. The huge piles of logs on the edge of the pond assure a steady supply of wood for the long winter ahead, and should make good pictures. Past McNary a beautiful new highway winds upward into the mountains, where aspen start to appear in their brightest dress. The road south to Big Lake passesthrough vast patches of yellow and gold before reaching the lake, now deserted by the fishermen whose boats dotted its surface only a few weeks before. From Big Lake the road turns north towards Eagar and winds its way through more patches of color until U.S. 60 is again reached at Springerville. From here, the idea is to get back to Paint Pony as quickly as possible. The big picnic lunch that Mary Marks had packed in the hamper vanished a long time ago, and a few hours in the woods at 9,000 feet can make a guy powerful hungry! Don't forget to try the home made bread. If I were a poet there would now be a sonnet or two dealing with that particular subject. Distance traveled-137 miles.

THIRD DAY: This day's travel follows the Forest Service road westward from Show Low along the Mogollon Rim. Here is a land of vast distances and tremendous views, all set off by more of autumn's golden hue. First, there is a stop at a fire lookout, where Jack Smith lets visitors come up to see the scenery and visit for awhile. Shortly after this spot the road starts hugging the very edge of the rim. There were so many stops for pictures that sunset found us still on the rim road. There are no service stations or hot dog stands up in that neck of the woods. While we could have camped out, we had no food with us, so we went on into Flagstaff. Distance traveled170 miles.

FOURTH DAY: This day started early with a trip south to Lake Mary and Mormon Lake, and then up the mountain to the top of Schnebly Hill, overlooking Oak Creek Canyon. After going down Schnebly Hill a few pictures were made in the canyon, where autumn's touch was not yet evident. Then the route led north again to Flagstaff, east and north to Sunset Crater National Monument, and then almost straight north to Marble Canyon and the crossing of the Colorado River. The road turns west to Jacob Lake, and finally south to Kaibab Lodge on the way to the Grand Canyon's North Rim. Fourth day's stop-Kaibab Lodge, elevation 8,900 feet (mighty chilly!). Distance traveled-280 miles.

TRIP NUMBER I TRIP NUMBER 2

FIFTH DAY: An early start enables the photographer to greet the sunrise from Bright Angel Point on the North Rim of the Grand Canyon. This is quite a photographic problem, and I wish I had a month or two at the Canyon to try to figure it out. The road eastward to Point Imperial passes through some majestic portions of the Kaibab Forest, and new vistas of the Canyon appear from time to time through the trees. From here the route is retraced northward to Jacob Lake and then northwest to Fredonia. Fill up gas tank and bread basket here, for it is the jumping off place for the wildest part of the state-the Arizona Strip country of northern Mohave County. Just west of Fredonia is Ship Rock, which really looks like a large ocean liner sailing along through the sea. A few miles further west is Pipe Spring National Monument, a tribute to the fortitude of the people who settled that part of the country. From here the road heads southwest towards Grand Canyon National Monument. Be sure to get on the right road-local inquiry is a good idea. It's no boulevard, but careful driving will eventually bring you to the real end of the trail-Toroweap Point. After a full day like this, spread out your bedroll, but not too close to the edge-it's a long way down! Distance traveled-167 miles.

SIXTH DAY: The experience of standing at Toroweap Point is quite hard to describe. I guess it can best be termed a stunning experience, since no previous view of the Grand Canyon can quite prepare one for Toroweap. Most people view the Canyon at spots where it is very wide and falls away from the viewer in a series of steps until the Inner Gorge and the river are seen at the very bottom. At Toroweap Point, however, the Canyon is very narrow and tremendously deep. As you look over the edge there are no ledges or steps-the view is straight down to the river below. It is a rather frightening moment, and one that has been shared by few people. The road out goes over the mountain through the town of Mt. Trunbull, north past Wolf Hole, and then out to the highway at St. George, Utah. From here the traveler has his choice of going to nearby Zion and Bryce Canyon National Parks or southwest to Las Vegas, Nevada. Distance traveled to St. George-89 miles.